Ainda permanece a obscena ordem de prisão para o cineasta iraniano Jafar Panahi, que está condenado até a uma pós-prisão pois, segundo o que foi noticiado, após sua libertação não poderá por 20 anos, realizar qualquer produção em seu país. Em épocas em que os grandiosos festivais de cinema (muitas vezes sem alma como o OSCAR) estão pipocando, temos de lembrar que o cinema ainda é uma forma de expressão, não somente puramente artística, mas de grande e fundamental importância para demonstrar os desmandos de políticas administrativas locais e que traz a reboque, como neste caso, a falta de liberdade de expressão, que deveria ser considerada há pelo menos uns 200 anos, como embolorada e fora de moda. Creio que algo a altura deveria ser feito, a "classe" deveria demonstrar sua indignação e por exemplo, ao invés de desfilar seus caros e emprestados trajes de gala, ir toda de preto ao dito maior acontecimento do cinema "mundial" e ao invés dos discursos repetidos e vazios de agradecimento, deveriam ter um discurso contra a prisão de Panahi, que não é o único que, neste momento, está amargando sua falta de liberdade por filmar a realidade de seu país, e tenho que dizer que o Irã não é o único a privar seus artistas de seus direitos de expressão.
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Imprisonment and International ResponseOn 30 July 2009, Mojtaba Saminejad, an Iranian blogger and human rights activist writing from inside Iran, reported that Panahi was arrested at the cemetery in Tehran where mourners had gathered near the grave of Neda Agha-Soltan.[7] He was later released, but his passport was revoked and he was banned from leaving the country. In February 2010 his request to travel to the 60th Berlin Film Festival to participate in the panel discussion on "Iranian Cinema: Present and Future. Expectations inside and outside of Iran" was denied.[8]
On 1 March 2010, Panahi was arrested again. He was taken from his home along with his wife Tahereh Saidi, daughter Solmaz Panahi and 15 of his friends by plainclothes officers to Evin Prison.[9] Most were released 48 hours later, Mohammad Rasoulof and Mehdi Pourmoussa on 17 March 2010, but Panahi remains in ward 209 inside Evin Prison.[10] Panahi's arrest was confirmed by the government, but charges were not specified.[11] Filmmakers Ken Loach, Dardenne brothers, Jon Jost, Walter Salles, Olivier Assayas, Tony Gatlif, Abbas Kiarostami,[12] Kiomars Pourahmad, Bahram Bayzai, Asghar Farhadi, Nasser Taghvai, Kamran Shirdel and Tahmineh Milani, actors Brian Cox and Mehdi Hashemi, actresses Fatemeh Motamed-Aria and Golshifteh Farahani,[13] film critics Roger Ebert, Amy Taubin, David Denby, Kenneth Turan, David Ansen, Jonathan Rosenbaum and Jean-Michel Frodon, Federation of European Film Directors, European Film Academy,[14] Asia Pacific Screen Awards, Network for the Promotion of Asian Cinema,[15] Berlin Film Festival,[16] Karlovy Vary International Film Festival,[17] International Film Festival Rotterdam,[18] Febiofest, National Society of Film Critics, Toronto Film Critics Association[19] and Turkish Cinema Council have called for his release. France's Ministry of Foreign Affairs[20] and minister of culture and communications Frédéric Mitterrand, German foreign minister Guido Westerwelle,[21] Canadian government, Finnish Green MP Rosa Meriläinen and Human Rights Watch[22] have condemned the arrest.
On 8 March 2010, a group of well-known Iranian producers, directors and actors visited Panahi's family to show their support and call for his immediate release. After more than a week in captivity, Panahi was finally allowed to call his family. On 18 March 2010 he has been allowed to have visitors, including his family and lawyer. Iran's culture minister said on 14 April 2010 that Panahi was arrested because he "was making a film against the regime and it was about the events that followed election."[23] But in an interview with AFP in mid-March, Panahi's wife, Tahereh Saeedi, denied that he was making a film about post-election events, saying: "The film was being shot inside the house and had nothing to do with the regime."[24]
In mid-March, 50 Iranian directors, actors and artists signed a petition seeking Panahi's release.[23] American film directors, Paul Thomas Anderson, Joel & Ethan Coen, Francis Ford Coppola, Jonathan Demme, Robert De Niro, Curtis Hanson, Jim Jarmusch, Ang Lee, Richard Linklater, Terrence Malick, Michael Moore, Robert Redford, Martin Scorsese, James Schamus, Paul Schrader, Steven Soderbergh, Steven Spielberg, Oliver Stone and Frederick Wiseman, signed a letter on 30 April 2010 urging Panahi's release.[25] The petition ends with “Like artists everywhere, Iran’s filmmakers should be celebrated, not censored, repressed, and imprisoned.” He was named a member of the jury at the 2010 Cannes Film Festival, but because of his imprisonment he could not attend and his chair was symbolically kept empty.[26]
On May 18, 2010, J. Hoberman at VoiceFilm.com reported that an unconfirmed announcement indicated the Iranian regime would release Panahi to coincide with the public screening of another Iranian film at the festival, Abbas Kiarostami's Certified Copy.[27] However, it was instead announced at the screening that Panahi's prison sentence had been extended. Hoberman reported that the leading lady of Kiarostami's film, Juliette Binoche, cried upon hearing the news.[28]
On May 18, 2010, Panahi sent a message to Abbas Baktiari, director of the Pouya Cultural Center, an Iranian-French cultural organization in Paris.[29] Panahi wrote that he has been mistreated in prison and his family threatened, and as a result has begun a hunger strike.[30]
On 25 May 2010, Panahi was released on $200,000 bail.[31]
On 12 November 2010, Panahi was back in court for his hearing. In a lengthy statement he defended himself and told the court that "I am Iranian and I will remain in Iran."
On 20 December 2010 Panahi, after being prosecuted for “assembly and colluding with the intention to commit crimes against the country’s national security and propaganda against the Islamic Republic,” was handed a six-year jail sentence and a 20-year ban on making or directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media as well as leaving the country.[2]
On 23 December 2010 Amnesty International announced that it was mobilizing an online petition spearheaded by Paul Haggis and Nazanin Boniadi and signed by Sean Penn, Martin Scorsese, Harvey Weinstein and others to protest the imprisonment of Panahi.[32][33]
Cine Foundation International, a "non-profit film company and human rights NGO aiming to 'empower open consciousness through cinema'" announced on 3 January 2011 that they are launching a campaign of protest films and public actions calling for the release of Panahi. "The campaign will include protest films that speak to human rights issues in Iran and throughout the world, six of which are commissioned feature-length, plus twenty shorts. Participating filmmakers may act anonymously or through pseudonyms since voicing their stories can be dangerous. The films, which will address themes of nation, identity, self, spiritual culture, censorship and imprisonment, will be aimed for public, web and various exhibition media".[34][35] Later in January, CFI deployed a video protest mechanism called WHITE MEADOWS [36] (named for the Mohammad Rasoulof film, which was edited by Panahi) and developed by Ericson deJesus (of Yahoo! and frog design) at the request of the foundation. The video mechanism "allow(s) anyone in the world to record a short video statement about Panahi and Rasoulof. There will be an ESCAPE button at top, allowing quick exit for those in countries where recording a statement would be dangerous. There will an option to have the screen black, and soon, voice distortion. The video statements will be recorded as mp4s, giving them maximum transmedia capacity, which essentially makes them broadcastable from any device that can show video"[37]. Users can also use the mechanism to comment on how they would "like to see as an international response by the film industry", comment on the state of human rights in general, or to "report a human rights abuse to the world". [38]
[edit] StylePanahi's style is often described as an Iranian form of neorealism.[citation needed] Jake Wilson describes his films as connected by a "tension between documentary immediacy and a set of strictly defined formal parameters" in addition to "overtly expressed anger at the restrictions that Iranian society imposes".[39] His film Offside is so ensconced in the reality that it was actually filmed in part during the event it dramatizes – the Iran-Bahrain qualifying match for the 2006 FIFA World Cup.[40]
Where Panahi differs from his fellow realist filmmaker Abbas Kiarostami, is in the explicitness of his social critique. Stephen Teo writes that
"Panahi's films redefine the humanitarian themes of contemporary Iranian cinema, firstly, by treating the problems of women in modern Iran, and secondly, by depicting human characters as "non-specific persons" - more like figures who nevertheless remain full-blooded characters, holding on to the viewer's attention and gripping the senses. Like the best Iranian directors who have won acclaim on the world stage, Panahi evokes humanitarianism in an unsentimental, realistic fashion, without necessarily overriding political and social messages. In essence, this has come to define the particular aesthetic of Iranian cinema. So powerful is this sensibility that we seem to have no other mode of looking at Iranian cinema other than to equate it with a universal concept of humanitarianism."[7]
Panahi says that his style can be described as "humanitarian events interpreted in a poetic and artistic way". He says "In a world where films are made with millions of dollars, we made a film about a little girl who wants to buy a fish for less than a dollar (in The White Balloon) - this is what we're trying to show."[7]
In an interview with Anthony Kaufman, Panahi said: "I was very conscious of not trying to play with people's emotions; we were not trying to create tear-jerking scenes. So it engages people's intellectual side. But this is with assistance from the emotional aspect and a combination of the two."[7]
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